Bill Laswell matches minds with Herbie Hancock on Hancock's latest "Future 2 Future" album... The has amazing moments... Especially those with Jack Dejohnette and Tony Williams... Laswell is great and plays the entire album... Hip-Hop meets psychedelic jazz, perhaps?
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Bill Laswell matches minds with Herbie Hancock on Hancock's latest "Future 2 Future" album... The has amazing moments... Especially those with Jack Dejohnette and Tony Williams... Laswell is great and plays the entire album... Hip-Hop meets psychedelic jazz, perhaps? <p><br><hr size=1><b>Do You Yahoo!?</b><br>
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<DIV>The first Fantomas is all original material, but quite good, a bit in the Torture Garden vein of short songs with many changes within them. The metallish side is a bit 'purer' there than Torture Garden, but I guess that depends on your perception.</DIV>
<DIV> </DIV>
<DIV>All the Bungles are worth getting, though I still hold Disco Volante to be the best. It's definitely the weirdest, the most experimental, though there's an experimental edge to everything the band does. California is them trying to be the Beach Boys meets metal meets film music meets Taraf de Haidouks, etc. It's the poppiest of them all, so if you like catchy melodies, that's the one. The first one is great, the most party-oriented, though I'm totally burned out on it. It came out when I was a junior in high school, and for two years, that, Torture Garden and Frank Zappa dominated about 75% of my listening. The Zappa is all that's held up for me over the years, FWIW. If you haven't heard it, though, definitely get it.</DIV>
<DIV> </DIV>
<DIV>As far as the Tzadik Patton stuff, it depends on what you consider 'too weird.' Adult Themes is all voice, microphone, and effects boxes into a four-track. It's definitely worth hearing a bit of, if you can. Pranzo Oltranzista I haven't listened to in a long time; they're experimental sound pieces, though maybe someone else is better suited to comment upon it.</DIV>
<DIV> </DIV>
<DIV>BTW, the new Patton band, Tomahawk, has an album and tour coming up. It figures to be pretty awesome, just some heavy, angry rock. There's a sample song at the Ipecac website.</DIV>
<DIV> </DIV>
<DIV>BTW, anyone ever heard Dentro by Ossatura/Tim Hodgkinson? I'm listening to it now; what a great album! Textural group improv, all played live, with very little post-production, save a little editing. </DIV>
>I am confused about the difference between a cdr and an ordinary
>cd, when the cdr only contains music. In this case, a cdr is a cd.
>Both play music on any old cd player,
Actually CD-Rs sometimes won't work on certain players, especially older ones. There are physical differences between the two: CDs are pressed aluminum (usually) while CD-Rs are burned into a base material. The advantage to CD-R is that anybody with the right equipment (quite cheap nowadays) can run off some discs in their spare time; the disadvantage is that this is impractical if you want to do a few hundred.
In a message dated 10/2/01 3:30:59 AM, iqhouse@yahoo.de writes:
<< Good decision, Andrew. They are both fantastic releases.
Like someone else already pointed out: make sure you get the "Big Gundown 15th
Anniversary" issue that came out on Tzadik. >>
However, stop the cd after track 10 the first time you listen. Then if you
want go back and listen to the bonus tracks.
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The latest Frisell album is out... Featuring Dave Holland and Elvin Jones... Mostly older Frisell compositions... and nice rendition of "twenty years" though....
-Theo
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<P>The latest Frisell album is out... Featuring Dave Holland and Elvin Jones... Mostly older Frisell compositions... and nice rendition of "twenty years" though....</P>
<P>-Theo</P><p><br><hr size=1><b>Do You Yahoo!?</b><br>
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I would like to make a recommendation that anyone who gets the opportunity should check these guys out. I saw them last night, and was quite impressed. Basically they're a couple of nobodies out of Victoria BC, travelling by bus and hocking some CD-Rs to pay for their meals.
Allport plays with a couple of small drums, a cymbal (no stand) and contact mikes; Olive does tabletop guitar with dental floss, tuning forks, bubble wrap, etc (yeah, don' they all these days!). Their music is extremely quiet --clicks, pops, scrapes, etc -- and also extremely captivating.
Probably of interest to you folk who like Erstwhile releases (especially the minimalism of somethng like the Tetreault/Drumm duo).
Jeffrey Allport/Tim Olive tour schedule:
Oct. 4- Edmonton, AB. Yardbird site.
Oct. 7- Saskatoon, SK. Unitarian Centre.
Oct. 10- Winnipeg, MN. Venue TBA
Oct. 13- Toronto, ON. Array music studio
Oct. 21- New York, NY. ABC no rio
Oct. 26- Boston, MA. Zeitgeist gallery
Oct. 27- Baltimore, MD. Red room
Oct. 29- Columbus, OH. Madlab
Nov. 3- Chicago, IL. Nervous centre
Nov. 14- Vancouver, BC. the Havana.
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The new Masada, live at Tonic, reminds me of when I saw them play in New York at the Center for Jewish History on December 9th... The intro selection especially...
Perhaps that's one of the reasons I like the album... Not all the songs are pulled off that great, but they're are, without a doubt, some great moments and then other songs that keep you on the edge of your seat thru the entire tune... I'd say Live in Middleheim is still my favorite of the series, but of course it's worth the $$$, in my opinion... The sound quailty is nearly stellar and when I saw them live I was second row, so the sound was about the same...
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<P> The new Masada, live at Tonic, reminds me of when I saw them play in New York at the Center for Jewish History on December 9th... The intro selection especially... </P>
<P> Perhaps that's one of the reasons I like the album... Not all the songs are pulled off that great, but they're are, without a doubt, some great moments and then other songs that keep you on the edge of your seat thru the entire tune... I'd say Live in Middleheim is still my favorite of the series, but of course it's worth the $$$, in my opinion... The sound quailty is nearly stellar and when I saw them live I was second row, so the sound was about the same... </P><p><br><hr size=1><b>Do You Yahoo!?</b><br>
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In a message dated 10/6/01 9:38:36 AM Eastern Daylight Time,
Samerivertwice@aol.com writes:
> Perhaps it was a typo? Maybe it was supposed ot read "Wilco rocks"?
>
>
That's odd, my email said something about "Wilco Socks." Some new blues/R&B
singer?
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<HTML><FONT FACE=arial,helvetica><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">In a message dated 10/6/01 9:38:36 AM Eastern Daylight Time, Samerivertwice@aol.com writes:
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Perhaps it was a typo? Maybe it was supposed ot read "Wilco rocks"?
<BR>
<BR></BLOCKQUOTE>
<BR></FONT><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">That's odd, my email said something about "Wilco Socks." Some new blues/R&B singer?
<DIV>Since we're on the subject of studio work and Frisell, let me chime in and say that Before We Were Born is still the one I cherish of his above all. A pretty darn studio-oriented album, there. </DIV>
Subject: Re: Tortoise and the function of the studio
Date: 07 Oct 2001 15:20:47 -0700
Dave Trenkel wrote:>
> I like Tortoise quite a bit as well, especially the TNT disc, which
> has some very nice compositions. Actually, I've been playing "Jetty"
> from that record in a jazz group. I think that when they added Jeff
> Parker on guitar, they had a distinctive instrumental voice in the
> band for the first time, I love his work with them, the various
> Chicago Underground groups, and Isotope 217. I saw Tortoise live this
> summer also, and it was kind of disappointing. On one hand, it was
> pretty impressive that they could do the tunes live with just 5
> players as faithfully as they did, everyone switched instruments many
> times throughout the show, but I really felt it was all very
> rehearsed, and pretty safe. Very little improvisation.
I saw Tortoise about 4 years ago, and had a somwhat similar, yet also quite different, opinion. Similar in that it all seemed very rehearsed and very safe. Different in that I was completely unimpressed with them jumping from instrument to instrument, and felt that much of it seemed like showboating. There were times that there would be two people drumming, or two on a set of vibes, and I kept thinking that I could name lots of individual players who could do more interesting things than the two were doing together.
I wasn't much of a Tortoise fan -- I opted to go on the advice of friends who liked them. Jon Butcher was playing about a 90 minute drive away and that was my choice of the evening and I opted to go the the Tortoise show rather than make the drive alone. Bad decision. (Even my friends who are fans were disapointed).
Dan
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<DIV>Indeed he did. The 'famous' trio one on which he sped up his piano is called 'Line Up,' I believe. Its a really weird solo, basically a solo played over the changes to A flat. All sorts of really advanced stuff for the time in that one. </DIV>
Some tunes on this album really shine through... Although at times it seems Elvin Jones doesn't know the changes that well... The highlights, for me, are Twenty Years, Moon River, Strange Meeting, Smilin' Jones, and Convict 13...
The song "Again" I was a bit disappointed in probably because it sounded so "right" on the "Where in the World" album, not to mention Pigpen's version almost equally as good on the album "V as in Victim..."
Overall the album sounds a lot stronger than Blues Dream and Ghost Town combined...
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<P> Some tunes on this album really shine through... Although at times it seems Elvin Jones doesn't know the changes that well... The highlights, for me, are Twenty Years, Moon River, Strange Meeting, Smilin' Jones, and Convict 13... </P>
<P> The song "Again" I was a bit disappointed in probably because it sounded so "<EM><STRONG>right" </STRONG></EM>on the "Where in the World" album, not to mention Pigpen's version almost equally as good on the album "V as in Victim..."</P>
<P> Overall the album sounds a lot stronger than Blues Dream and Ghost Town combined... </P><p><br><hr size=1><b>Do You Yahoo!?</b><br>
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In a message dated 10/6/01 9:38:36 AM Eastern Daylight Time,
Samerivertwice@aol.com writes:
> Perhaps it was a typo? Maybe it was supposed ot read "Wilco rocks"?
>
>
That's odd, my email said something about "Wilco Socks." Some new blues/R&B
singer?
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<HTML><FONT FACE=arial,helvetica><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">In a message dated 10/6/01 9:38:36 AM Eastern Daylight Time, Samerivertwice@aol.com writes:
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Perhaps it was a typo? Maybe it was supposed ot read "Wilco rocks"?
<BR>
<BR></BLOCKQUOTE>
<BR></FONT><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">That's odd, my email said something about "Wilco Socks." Some new blues/R&B singer?
Someone posted something about a new Tzadik release of Massacre "Live."
a) when?
b) is there an internet article you can e-mail me?
c) is the line up the same as the '98 release?
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<P>Someone posted something about a new Tzadik release of Massacre "Live." </P>
<P>a) when?</P>
<P>b) is there an internet article you can e-mail me?</P>
<P>c) is the line up the same as the '98 release?</P><p><br><hr size=1><b>Do You Yahoo!?</b><br>
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> Does Bravo have two or more different feeds, or will we U.S. Bravo >viewers be able
US and Canadian Bravo are completely different. The US version is something of a joke--timid & unimaginative programming, edited movies--but the Canadian Bravo is much better with greater variety, good selections and unedited programs. The Canadian channel Showcase is also very good. I don't know how widespread these are though: when I visited Quebec City they didn't seem to be available there.
The Canadian version of Bravo! is owned by the CHUM Group, which grew out of Canada's major pop radio station, and also owns MuchMusic, the Canadian equivalent of MTV. You can check it out at <www.bravo.ca>.
Showcase (www.showcase.ca) is a rough equivalent of HBO ... without HBO's budget to do original dramas like The Sopranos... and is owned by Alliance Atlantis, Canada's largest film distributor; hence the number of uncut films that run on it.
Canada being Canada, of course, Quebec has its own French-language versions.
James Hale
wlt4@mindspring.com wrote:
> > Does Bravo have two or more different feeds, or will we U.S. Bravo >viewers be able
>
> US and Canadian Bravo are completely different. The US version is something of a joke--timid & unimaginative programming, edited movies--but the Canadian Bravo is much better with greater variety, good selections and unedited programs. The Canadian channel Showcase is also very good. I don't know how widespread these are though: when I visited Quebec City they didn't seem to be available there.
Music in which electronic technology, now primarily computer-based, is used to access, generate, explore and configure sound materials, and in which loudspeakers are the prime medium of transmission (see also Computers and music, ºII). There are two main genres. Acousmatic music is intended for loudspeaker listening and exists only in recorded form (tape, compact disc, computer storage). In live electronic music the technology is used to generate, transform or trigger sounds (or a combination of these) in the act of performance; this may include generating sound with voices and traditional instruments, electro-acoustic instruments, or other devices and controls linked to computer-based systems. Both genres depend on loudspeaker transmission, and an electro-acoustic work can combine acousmatic and live elements.
æElectro-acousticÆ merely describes the technology used to provide the production tools; it does not describe the sound world or the distinctive idioms made possible by this technology. Although æelectro-acousticÆ is adopted in this article as the most appropriate generic adjective, other terms have been used either as surrogates or to represent a particular approach to the medium.
In the 1950s elektronische Musik was the term given by a group of German composers, initially working in Cologne, to music on magnetic tape consisting of sounds generated electronically (by means of oscillators, for example) û that is, music whose materials are created synthetically. The composers aimed to use electronic resources to construct timbres, thereby extending control to the structure of sound itself, and they envisaged that a musical structure would be planned before realizing it electronically. These aims only became truly viable with the arrival of the computer.
Musique concrΦte was created in Paris in 1948 by Pierre Schaeffer (soon joined by Pierre Henry). It grew out of SchaefferÆs experience in radio, but was also inspired by film soundtracks. The word æconcrΦteÆ originally conveyed the idea that the composer was working directly (concretely) with the sound material, in contrast to the composer of instrumental or vocal music who works indirectly (abstractly) using a symbolic system of notation which represents the sounds to be made concrete by instruments and/or voices. In musique concrΦte sound materials could be taken from pre-existing recordings (including instrumental and vocal music) and recordings made specially, whether of the environment or with instruments and objects in front of a studio microphone. These source sounds might then be subjected to treatments before being combined in a structure; the compositional process proceeded by experiment. Schaeffer intended that sounds should be perceived and appreciated for their ab!
!
stract properties rather than being attached to meanings or narratives associated with their sources and causes. The relationship between what sounds signify and their abstract sonic attributes lies at the heart of the subsequent development of the acousmatic music aesthetic. Musique concrΦte quickly became identified with ænaturalÆ, real-world sounds, even though concrΦte theory did not exclude the use of recorded electronic sounds.
In Paris towards the end of the 1950s æelectro-acoustic musicÆ was promoted as a better term for representing the cohabitation of the concrΦte and electronic approaches to sounds. At this stage, however, æelectro-acousticÆ referred only to music on tape. To confuse matters, as studios spread æelectronic musicÆ lost its specialized German connotations and in many countries came to be synonymous with æelectro-acoustic musicÆ as a collective term for all approaches to the medium. æElectro-acousticÆ gradually became the dominant term, although æelectronicÆ is still in use.
æTape musicÆ means simply that the music in its final form is recorded on magnetic tape. The term is closely associated with works composed in the USA in the early 1950s and has been widely used internationally ever since, although decreasingly now that tape (analogue or digital) is no longer the only final storage medium.
æComputer musicÆ entered the vocabulary when the computer became a significant compositional tool; the first attempts at synthesis took place in 1957 at the Bell Telephone Laboratories in Murray Hill, New Jersey. The earliest computer music studios were distinct from (analogue) electronic music studios. Today all electro-acoustic music may be regarded as computer music, and although æcomputerÆ may not fully represent the technological means employed, the term continues to be widely used.
Since the late 1980s æsonic artÆ has been adopted to situate electro-acoustic music within a wider framework. Although electro-acoustic resources are not obligatory for creating sonic art, the term has the advantage of indicating an openness to all types of sound.
I'm trying to help a friend find good indie distributors for a CD. For a
>short list, I've come up with Allegro, Koch, Forced Exposure, Caroline and
>Cadence. Anyone have any good/bad experiences with any of these?
I've always had good experiences and good service from Cadence (and
North Country Audio their stereo equipment department). It is, however,
cheaper to buy from them if you are a subscriber to their magazine. For me
that's a no brainer because I like the interviews, reviews and stereo
column, as well as the catalogue in the center of the mag.
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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I'm trying to help a friend find good indie distributors for a CD. For a
<BR>>short list, I've come up with Allegro, Koch, Forced Exposure, Caroline and
<BR>>Cadence. Anyone have any good/bad experiences with any of these?</FONT><FONT COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR></FONT><FONT COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Tahoma" LANG="0"> I've always had good experiences and good service from Cadence (and North Country Audio their stereo equipment department). It is, however, cheaper to buy from them if you are a subscriber to their magazine. For me that's a no brainer because I like the interviews, reviews and stereo column, as well as the catalogue in the center of the mag.</FONT></HTML>
Back on the list after a long absence (but kept up with the digests!).
I'm off to Prague tomorrow Wednesday 24 until Saturday afternoon. Does anyone have any recommendations for gigs, record shops, cafes, bars? All gratefully received, but please email privately.
Thanks!
Alastair
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These items are ending soon on eBay. I just wanted to make sure you had noticed them.
A French spoken word double LP for children, with background music by Philip Glass, Igor Wakhevitch, Henri Torgue, Karlheinz Stockhausen, Pierre Henry, Laurie Anderson, King Sunny Ade, Cluster & Eno amongst others
The Relative Band "85" LP. Rare LP. Great improvisation super group with Eugene Chadbourne, David Moss, John Rose, Steve Moore, Gillian McGregor and Jim Denley.
Two very rare Jef Gilson items (the grandfather of French free jazz?)
The first is an ultra-rare LP titled "Oeil vision", released in the 60's at an exhibition by the painter Guy Harloff (art brut-related). It features a very early appearance by Jean-Luc Ponty!
Then there's a Jef Gilson 7"EP, titled "Louez Diey" and featuring Bernard Lubat, Eddy Louiss, Guy Pedersen, Jean Schultheis etc. That's a religious record wit vocals by Christiane Oriol.
Fans of Magma beware: here you have an amazing LP by the French poet Henri Gougaud featuring: Teddy Lasry, Jannick Top, Bernard Lubat, Claude Olmos and AndrΘ Dauchy! Notable zeuhl influences on some tracks!
These items are ending soon on eBay. I just wanted to make sure you had noticed them. <BR><BR>A French spoken word double LP for children, with background music by Philip Glass, Igor Wakhevitch, Henri Torgue, Karlheinz Stockhausen, Pierre Henry, Laurie Anderson, King Sunny Ade, Cluster & Eno amongst others <BR>http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1477187137 <BR><BR>The Relative Band "85" LP. Rare LP. Great improvisation super group with Eugene Chadbourne, David Moss, John Rose, Steve Moore, Gillian McGregor and Jim Denley. <BR>http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1477188358 <BR><BR>Freddie Hubbard "Groovy" LP. Great recordings from 1961. Amazing cover artwork. <BR>http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1477189354 <BR><BR>Pierre Henry's "Apocalypse de Jean vol. III" LP. An original Philips "Prospective 21░ siΦcle" pressing, with silver cover. <BR>http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1477191043 <BR><BR>Two very rare Jef Gilson items (the grandfather of French free jazz?) <BR>The first is an ultra-rare LP titled "Oeil vision", released in the 60's at an exhibition by the painter Guy Harloff (art brut-related). It features a very early appearance by Jean-Luc Ponty! <BR>http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1477200234 <BR><BR>Then there's a Jef Gilson 7"EP, titled "Louez Diey" and featuring Bernard Lubat, Eddy Louiss, Guy Pedersen, Jean Schultheis etc. That's a religious record wit vocals by Christiane Oriol. <BR><http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1477194476> <BR><BR>Fans of Magma beware: here you have an amazing LP by the French poet Henri Gougaud featuring: Teddy Lasry, Jannick Top, Bernard Lubat, Claude Olmos and AndrΘ Dauchy! Notable zeuhl influences on some tracks! <BR>http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1477196646 <BR><BR>Sorry for the long message. Thanks to all of you. <BR><BR>Raoul.<p><br><hr size=1><b>Do You Yahoo!?</b><br>
To which Laswell reportedly replied something to the effect that Fela wanted his saxophone solos preserved on record, he should "learn to play the fucking thing," or something like that.
Steve Smith
ssmith36@sprynet.com
NP - King Crimson, "Cat Food," 'Mirrors' (Wild Bird boot)
Sean Westergaard <seawes@allmusic.com> wrote:
> 1. the new MCA "reissue" of Army Arangement is not the Laswell production
but apparently the raw tapes that Laswell used in making the Army
Arrangement that appeared, I believe, on Celluloid. Little is gained by
these the full-length versions of the the title track and Gov't Chicken Boy
-- a bit long and wandering. I prefer the Celluloid versions.
i believe Fela's quote regarding the celluloid issue was something to the
effect of "Being imprisoned by the Nigerian Government is nothing compared
Can anyone answer a potentially *delicate* question for me?
Is Rhodri Davies, the wild improvising harpist who plays with Derek Bailey, John Butcher and Simon Fell, the same person as Rhodri Davies, the harpist who plays with Welsh "popera" warbler Charlotte Church?
JonAbbey2@aol.com wrote (about choosing Fela over Laswell):
> emotion over technique, baby.
The first part seems accurate, anyway.
I like numerous things by Laswell, but "technique" is about the last term that comes to my mind in describing any of them, unless you're talking about the technique displayed by many of his sidemen (like Buckethead, for whatever that's worth).
"Emotion" wouldn't be right, either, as you suggest. How about intuition? Instinct?
<DIV>That's a heck of a generalization there.</DIV>
<DIV> </DIV>
<DIV>I'd be hard-pressed to describe Beefheart as a 'word-stumbler,' myself. His vocabulary alone seems to far surpass that of the 'great' journalists that attempt to shed light on his 'inarticulate cryptos.'</DIV>
